Emmy-winning Abbott Elementary star Quinta Brunson hosted Saturday Night Live (SNL) this week, with genre-blending musical guest Lil Yachty. Brunson used her monologue to talk Abbott Elementary and praised teachers, mentioning her Philadelphia upbringing and mother who was an educator. Brunson used her first SNL hosting gig to call for better pay for teachers, reminding parents to not take teachers for granted.
A trio of solid sketches followed, with a “Drug Dealer” sketch with bathroom dealers trying to one-up each other, a Netflix Bridesmaids cult documentary that sends up the cult doc Wild Wild Country, and a gameshow ‘Couple Goals.’
The first song from Lil Yachty, “The BLACK seminole.,” found an all-female band in a starlit field/swamp, the moon backlighting them. The first track off Let’s Start Here, “The BLACK seminole.” offered rap merging with psychedelic rock and hip hop, including autotuned Yachty singing, the guitarist dropping a solo that would make Slash smile, and singer Diana Gordon taking the spotlight as LED wall projections intensified. Lil Yachty put the band front and center, with a Pink Floyd influence clear in Gordon’s singing and samples of “One of these Days” and “Speak to Me.”
https://youtu.be/XYdE4HAsXpI
On Weekend Update, Michael Che pulled “the meanest thing you’ve ever done” on Colin Jost, by getting the audience to not laugh during the first few jokes Colin told. Someone could then be heard shouting ‘you suck’, and Jost breaking his ever-stiff persona on Update, laughing at the lack of laughs, wondering if his mic was on, and Che admitting it was his April Fools. Jost replied with “You are evil!” laughing all the while, sweating too. Meanwhile, Che’s couple of early jokes got big laughs to stoke the flame.
Having set the tone for the rest of Update, the guests that joined the desk made this the funniest Update of the season so far. Michaelangelo’s David (Michael Longfellow) and featured player Marcelo Hernandez praised Short Kings, dragging Jost again, this time for being short (he’s really 6’0″).
Lil Yachty’s second song “drive ME crazy!” dropped a Disco beat thanks to an even-handed drummer and Diana Gordon taking the lead this time, singing about finding her perfect match. At first, the song is minimalist, with the stage becoming lighter as the song progressed, with Yachty joining in, wearing a hat that Shock G would have loved.
https://youtu.be/lrF32zOszgg
Tune into Saturday Night Live next week with host Molly Shannon and musical guest Jonas Brothers
NYC-based singer-songwriter and actor, Homeschool, has just announced the release of his newest EP Just Now. As a follow-up to the EP’s first track and lead single which documents D’Agustino’s burgeoning sense of self, today finds the release of another new track entitled “Loving You To Death.”
It has been a tumultuous year for Tom D’Agustino, also known as “Homeschool,” a solo project of NYC singer-songwriter. As an independent artist with unfettered control of the creative process, Homeschool has spent the past year experimenting with music and masculinity, inching closer to what they feel is an “authentic” way of being in the world. As a newcomer to acting, D’Agustino is reveling in the opportunity to explore the worlds of different characters, to “experiment with who I’m able to become,” he states.
Formerly known as the front person of the garage pop quartet, Active Bird Community, Homeschool pokes fun at traditional masculine rock archetypes by blending bedroom pop textures with anthemic, self-aware hooks to tell detailed stories of loss, identity, and self-exploration.
Just Now, the new 6-track EP slated for May 19th, is the result of this new exploration. AsD’Agustino’s first foray into self-producing his own music, Just Now showcases their independence and shameless autonomy as a gender-fluid person, while taking ownership over all aspects of their creative life, whether it be songwriting, production, acting or writing.
In celebration of these new releases, Homeschool sold out their debut headlining show at Mercury Lounge in NYC and received positive press from outlets such as Ones To Watch, Brooklyn Vegan, FLOOD, Under The Radar, Paste, Stereogum, Our Culture. Now, D’Agustino announces the upcoming release of a long-awaited brand new EP entitled Just Now, due May 19th. As a follow-up to the EP’s first track, he has also relased the single “Loveing You To Death.”
D’Agustino wrote, “‘Loving You To Death’ was written during the tail-end of the Covid lockdown when my partner and I had just moved into an apartment together. We had spent a year living with her parents before that, and this song explores my neediness, clinginess, and overall attachment to her. It’s a fun, upbeat way to interrogate my constant need for love and reassurance that I have value. I think by reminding someone how much I love them, I can be sheltered from how I don’t love myself enough. I’m sure all that affection can get annoying though, so in the song I am trying to convince her of all of these positive things about me so she won’t think I’m a needy little baby. But I so am.”
To celebrate the EP on its release day, May 19, Homeschool will play an EP release show at Baby’s All Right with fellow NYC rocker and queer/non-binary TikTok champion Libby Larkin. Tickets are on sale this Friday, March 31th click the link HERE to purchase.
Homeschool’s Just Now weaves genre-bending stylings into self-aware reflections that paint the pain of life with a surprisingly upbeat and humorous brush. “While some of these topics are heavy, I think a lot of this record turned into me poking fun at myself,” they say. At the end of the day becoming “just now,” doesn’t have to be a bummer. It can be a dance, a laugh. It can be the glitter on your eyes that make the tears sparkle.
To listen to “Loving You To Death,” click the link here.
For more music by Homeschool, click the link here.
The latest evidence that musicians can make great writers is illustrated in Bill Janovitz’s LEON RUSSELL: The Master of Space and Time’s Journey Through Rock & Roll History (Hachette Books). Janovitz made 10 albums with the alt.rock stalwarts, Buffalo Tom, and four solos while also carving out a career writing about music. He did this in articles for the likes of Esquire and The Observer and in books including the 33 1/3 series’ The Rolling Stones: Exile on Main Street and Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones.
But Janovitz’ exhaustively captivating profile of Russell, one of rock’s most Zelig-like and complicated figures, is something else altogether. It’s a delicious masterwork of research and insights that could only come from a musician – someone who has tread the up-and-downs of a life as a professional musician, someone who has absorbed the many genres of American music where Russell not only ventured but repeatedly innovated.
With the blessing of Russell’s estate, Janovitz conducted interviews with 130 of Leon’s musical collaborators and bystanders to the Golden Age of Rock-N-Roll’s moments of true creativity and debauched excess. There are Leon’s chops-gathering years in Tulsa and on the road with Jerry Lee Lewis, his days as a session man playing on classics for everyone from The Beach Boys and The Byrds to The Ronettes and Gary Lewis and the Playboys, his catalyst roles with Delaney and Bonnie, Joe Cocker’s Mad Dogs and Englishman and George Harrison’s Concert for Bangladesh. There’s his time as a hitmaker and, even more lasting, a writer of much-covered classics like “A Song for You” and “This Masquerade.” There’s his latter shift to country music, his slide into financial and creative doldrums beginning in the ‘80s and his return in his final chapter under the patronage of a mega-star who idolized him above all, Elton John.
Claude Russell Bridges (aka Leon Russell), piano prodigy, circa 1946. Courtesy of the OKPOP Museum
Janovitz’ book also looks and put into context Russell’s struggles with illnesses, physical and mental, addiction, stage fright, bipolar disorder and much more.
In 530-plus pages and 41 chapters, Janovitz does music-lovers a great service by reminding us of the extraordinary talents and contributions of Russell – a man who is revered by generations of star music-makers, but who is getting a bit lost in the sands of time in the mind of the general public. Here are some of his thoughts on Russell and his journey to bring Leon’s remarkable story to life.
With the amazing list of stars he collaborated with, the many classic songs he wrote and records he played on, do you think Russell is still a somewhat undervalued commodity in the annals of rock music?
I don’t think he is undervalued among those who are aware of who he is. His legacy was obscured due in large part to his own decisions, but also due to the ephemeral attention spans of the music business and trends. He refused to deal with it all pretty music after 1980.
What was “the Tulsa Sound” and the role Russell played in developing it and then, later, when he resettled back in his native Oklahoma to create a home for Shelter Records? And how did his witnessing a performance by Jerry Lee Lewis help shape his career?
There really isn’t a “Tulsa Sound.” But the mix of rock & roll, R&B, gospel, blues, country, swinging drums, etc. were all important to the musicians coming out of Tulsa in the ‘60s. In that way, it is not much different than the Memphis area. But J.J. Cale is a lot different than Leon Russell, and both are very different than David Gates, e.g.
Playing in a teenage band backing Jerry Lee Lewis on a short tour in 1959-60 was the most galvanizing event in Leon’s journey to becoming a professional musician. Lewis was a hero of his as a pianist, but Leon also learned showmanship from Lewis.
Sam Bush, Bill Kenner, and Leon. On tour with New Grass Revival, 1981. ”For two years, we would open the show, and then we would back him, so it was strenuous work. I mean, it wore our ass down,” Bush said. Photo by Diane Sullivan, courtesy Jan Bridges
Russell was an important member of “The Wrecking Crew,” the corps of studio musicians who played on seemingly most hits coming out of Los Angeles in the ‘60s. What were some of the rock classics, and unlikely novelty tunes, he played on during this era?
So many, this list is just a sampling of some of the hits he played on in his pre-star session days:
“Mr. Tambourine Man” – The Byrds
“Be My Baby” – The Ronettes
“Da Doo Ron Ron” – The Crystals
“California Girls,” “Don’t Worry Baby,” “Help Me, Rhonda,” and “Little Old Lady From Pasadena” – The Beach Boys
“The Ventures Play Telstar” – The Ventures
“This Diamond Ring” – Gary Lewis and the Playboys
Whipped Cream and Other Delights LP – Herb Alpert and the Tijuana Brass
Leon’s home/studio in Los Angeles, Skyhill, was a real locus of rock-n-roll creativity and err, debauchery during the classic rock era. Tell us a little about what went on there and who was a party to this insanity?
They called it the “Home for Unwed Musicians.” They recorded around the clock. Leon often had no idea certain people were even living there. But aside from his own Tulsa crew, Bobby Keys, Levon Helm, Pat Boone, Glen Campbell, Eric Clapton, Rita Coolidge, Dean Torrance, Boyce and Hart, Joe Cocker, Steve Cropper, Buddy Miles, Duck Dunn, Jerry Lewis, and other notable figures either passed through or stayed for longer stints, working or just hanging out. It was so out of control there at times that Leon went to crash elsewhere, generally with a girlfriend, though he had another apartment at some point.
The Starlighters at the Tropicana Club, 1959. Left to right: Leo Feathers, Chuck Blackwell, Ron Ryan, Johnny Williams, Russell Bridges (aka Leon Russell). A promoter at Cain’s Ballroom hired the Starlighters to back Jerry Lee Lewis at a show there. After the Starlighters’ first warm-up set, Lewis came up onto the bandstand, pointed at seventeen-year-old Leon, and declared, ”I’m not gonna set down at that piano. He plays a lot better piano than I do!” Lewis immediately hired the band to back him on a tour. Courtesy of the OKPOP Museum
Russell became rich and famous inspired by Black art forms like gospel and blues, but seemed a bit oblivious to racism, even refusing to defend his African-American backup singer wife Mary McCreary when she faced abuse from audiences. Why didn’t he take a stand?
I take umbrage with the terms “refused,” and “oblivious.” I certainly did not use those words in such contexts. As for the influence of different kinds of music, it is a continuum for all musicians, no matter what cultural background. It does not exist in a vacuum.
Gospel, for example, is informed by white and Black people. Leon was decrying racism in his earliest interviews (see The Rolling Stone 1970 Ben Fong-Torres interview quoted in my book, e.g.). He also integrated bands as soon as he could form them. And he married a Black woman and had Black kids.
While there were virulent racists who shouted epithets and did worse at his shows, I think he felt he shouldn’t give oxygen to that particular flame; don’t feed the trolls, as it were. As the Black singer in his band Maxayne Lewis said, he thought the music and the band spoke for itself. He certainly did not “refuse to defend” his wife. This is not to downplay the effect of such hatred on Mary or any of the Black artists Leon worked with. But Leon wasn’t someone to get into a physical altercation with rednecks.
Leon and his most famous acolyte, Elton John, soon after they first met in Los Angeles, 1970. Elton said Leon “was everything I wanted to be as a pianist, vocalist, and writer. His music has helped me and millions of others in the best and worst of times.” Photo by Don Nix, courtesy of the OKPOP Museum
What role did Leon play in transforming Willie Nelson from the clean-cut songwriter to the original hippie-looking outlaw of country music?
He was the primary influence on Willie changing his look and outreach to the rock & roll audience.
What role did his lifelong battle with his many illnesses, both physical and mental, play in his career and personal life?
It was obviously a struggle, as detailed in the book. Depression would sideline him for months sometimes. As for his partial paralysis on the right side resulting from a birth injury, it was a challenge that he met by devising his own style to overcome it.
His relationship with singer Rita Coolidge offered a look at his insecurities and obsessions. Tell us a little about their time together and, something I saw in an early review of your book, his insistence on getting a monkey when she did want to have his child.
I don’t draw a line in the book connecting the lack of a child and a pet monkey that he got for her birthday. But Rita painted a portrait of Leon as a bipolar personality, “Mr. Entertainment” one moment, an a dark brooding person at another. Like a few other women to follow, she felt she did not fit into Leon’s lifestyle during the late-1960s.
“If you’re in Oklahoma, the amount of real legends that you can just reach across, just bump into and touch, there’s not that many,” said Taylor Hanson of the band Hanson. “But Leon was one where, all of a sudden, it was a relationship.” Left to right: Leon, Steve Ripley, and Taylor Hanson. Tulsa Mayfest, 2005. Photo by Kelly Kerr
You write that Leon was a central figure in both George Harrison’s Concert for Bangladesh and Joe Cocker’s career-making Mad Dogs and Englishmen Tour. What was the scope of his involvement in these events? And how do you think an artist like Leon, who you say suffered from massive stage fright and paranoia, could deal with this kind of spotlight?
Leon was the one who put together the Mad Dogs and Englishmen band, chose the repertoire (along with Cocker), arranged the songs and the show itself, played piano and guitar, and sang some songs. He was the bandleader. Joe was the star of the show, but it was essentially Leon’s band. He also helped out to gather the band for Harrison for the first major rock music charity concert, the Concert for Bangladesh. Yes, for both shows, Leon adopted his rock-star-preacher persona, a larger-than-life act to overcome his naturally taciturn personality. He really did have to overcome stage fright.
Elton John was one of the musicians most inspired by Leon. Tell us about Leon’s impact on Elton and Elton’s role in reviving Leon’s artist and financial fortune is his later life?
Elton told me that Leon was his idol, “everything I wanted to be as a piano player.” Leon took him out on the road to open shows for Leon and his band in 1970-71. Elton repaid that debt and went well beyond that by bringing Leon back to the public spotlight, making the hit record The Union together and lobbying to get Leon into the Rock & Roll Hall of Fame.
Your book received advanced raves from a wide range of musicians. What artist today do you think are continuing to be influenced by Russell and carry his torch?
Tedeschi and Trucks Band comes to mind.
You had a long fruitful music career with the band Buffalo Tom. Is there any music-making on the horizon for you?
NYC-based multihyphenate creative Nicole Daddona, also known as FRIDAY, has shared her new single and music video, “Dear God.” The grunged-out ballad is a punk reclamation of emotions, paired with a video that shows her dressed up as a crying, cigarette-smoking clown as she takes over an empty indoor children’s entertainment facility.
When Nicole Daddona preforms as her alter ego FRIDAY, she channels her creativity in each moment and brings a sense of nostalgic fun to each track. Daddona catches her audience with an emotionally deep sound that when you listen, you’ll transport you to a world where the weekend never ends.
With each song, FRIDAY captures different aspects of the human experience, adding her unique, colorful perspective. When listening to “Dear God,” her hook-filled songs and playful melodies will get stuck in your head and your heart.
Besides Nicole’s new project FRIDAY, she is the founder and designer of the “lowbrow, high fashion” clothing and accessories company Magic Society, creating iconic, playful, and maximalist designs like the Judy Bag (a purse made from deadstock blow-up dolls). She’s also one half of the production company Magic Society Pictures, who just debuted their most recent film The Mundanes at this year’s SXSW.
It’s well known that FRIDAY is a true creative powerhouse. This talented artist is not only a visual artist and filmmaker but also a fashion designer who has turned her hand to music. Through her whimsical and eclectic solo musical project, FRIDAY explores themes of love and loss with a touch of nostalgia and DIY aesthetics. In fact, she once described her music as “Harry Nilsson meets Nirvana,” which gives you a taste of the unique sound she brings to the table.
FRIDAY’s music draws inspiration from a range of artists, including Marc Bolan, Jeff Lynne, George Harrison, Nirvana, and Harry Nilsson. Her sound is an accumulation of multiple genres, inspired by Art Rock, 70s power pop, grunge, bubblegum pop, and NU-Disco influences.
From the influences of NYC, her music is inspired by vintage horror films, unrequited love, dreamcore, and weirdcore. It’s a cross-genre project that has something for everyone. FRIDAY channels her creativity in each moment and brings a sense of nostalgic fun to each track.
To listen to “Dear God” by FRIDAY, click the link here.
To watch the music video for “Dear God,” click the link here.
On Tuesday, March 28, the talented piano player RIOPY graced the stage of the Church of Intercession Crypt. This intimate concert setting added a unique and hauntingly beautiful atmosphere to RIOPY’s already mesmerizing music.
Photo by Kevin Condon IG @weirdhours
RIOPY, born and raised in France, began playing the piano at the age of six. He has since become a world-renowned pianist. His music is a blend of classical and contemporary, with a focus on emotional depth and storytelling through music.
The performance opened with a piece called “La Nocturne,” a haunting and melancholic melody that set the tone for the rest of the evening. From there, RIOPY gave the audience a preview of his upcoming album, Thrive. The album will be released on April 14th under Warner Classics.
Photo by Kevin Condon IG @weirdhours
Throughout the concert, RIOPY shared stories about his life and the inspiration behind his music. He spoke about how his music is a reflection of his experiences and how he hopes that his music can bring comfort and healing to those who listen to it.
RIOPY’s concert at the Church of Intercession Crypt was a testament to the power of music. His beautiful melodies and emotional depth left a lasting impression on everyone in attendance.
The Crypt Sessions is a concert series that takes place in the crypt of the Church of the Intercession, located on West 155th St in Upper Manhattan. The Crypt Sessions series was founded in 2020 by Andrew Ousley, who wanted to create a unique and intimate concert experience for both the performers and the audience.
The concerts are held in the crypt, which is a small, underground chamber beneath the 180 old Episcopal church. The space has a unique atmosphere and excellent acoustics, making it an ideal venue for live music performances. The Crypt Sessions feature a wide range of musical genres, from classical and opera to jazz and indie rock. The performers are often world-renowned musicians who are attracted to the unique setting and intimate atmosphere of the series
Setlist: La Nocturne, Piano Allegretto, Ukiyo, I Love You, Rockefeller Room, Drive
Frank Palangi’s new single “Fall From Grace,” proves that the rock genre still has a place in the music business – as does Palangi. The rock singer has been performing for more than 10 years and continues to make noise in the music industry, “Fall From Grace,” being only his most recent track to hit music platforms. “Fall From Grace,” is sure to leave fans eager to hear more.
Raised in Upstate New York, Palangi first hit the music scene in 2011 with his self-titled debut EP, and since then has had the opportunity to work with a number of music producers. Over the course of his more than decade-long career, he has released a total of five EPs, received Best In the Region for local Glens Falls and Albany areas and national unsigned-only competition finals, radio artist of the year (radio wigwam) and an LA Music Award single Nomination. When the Covid-19 pandemic hit, Palangi wasn’t discouraged, and his optimism shined through his music. Guitar World magazine said of the artist, “Palangi’s positivity extends beyond his music into the way he interacts with his fans.”
Palangi stands out positively from artists today in a number of ways, and “Fall From Grace,” is living proof of that. Palangi’s newest single echoes the sounds of hit rock bands and some of his biggest inspirations such as Ozzy, Def Leppard, Megadeth, and Three Days Grace, just to name a few. “Fall From Grace” can have a subjective meaning to listeners, so almost anyone can resonate with it, one way or another. For some, it could be about a fall-out you had with some of your closest friends, who you thought would stick by you through anything, or for others, it could be about being turned down for a job you really wanted or desperately needed. Either way, “Fall From Grace” is likely going to go down as just one in a long list of hits by Palangi.
“Fall From Grace,” is available on a number of music streaming platforms.
The sounds of Frank Zappa were in the air on Sunday, March 26, as The Furious Bongos took the stage at The Westcott Theater, in Syracuse.
Based out of Wisconsin, The Furious Bongos are a nine-piece progressive rock band who focus on delivering quality renditions of Frank Zappa songs. The band consists of Lo Marie (vocals, rhythm guitar, Conrad St. Clair (bass guitar, music director), Chris Huntington (lead guitar), Flip Fjellstrom (drums), Zachary Bowers (percussion), Scott Fischer (vocals, keyboard), Jonathan Sindelman (keyboards), Willow Dougherty (vocals), and Vince Szynborski (saxophones).
At promptly 8pm the house lights dimmed and the band took the stage. The theater was quickly filled with the groovy bass notes of the opening number, Chunga’s Revenge. The song built layer upon layer of sound, with each band member joining along until the theater was filled with a symphony of sound.
Through out the evening, the band would perform various songs from the Frank Zappa catalog. Lo Marie, Willow Dougherty and Scott Fischer would delight the crowd with their vocal deliveries, while each band member traded turns putting their musical talents on display. The band’s stage manager, Mike Stehr, would join in the fun, taking lead vocal duties during the Zappa classic, Cosmik Debris. Through out the evening, the audience sang and danced along, even earning muffins from the band to reward their participation.
Through out the two and a half hour set, the band put on display the qualities which made Frank Zappa a legend; complex and diverse musical arrangements along with comical, satirical, and at times racy song lyrics. The band delivered on these concepts with the precision and the eccentric delivery which made Zappa famous. They are a must band see for any music fan.
The Furious Bongos – The Westcott Theater, Syracuse – March 26, 2023
Set 1: Chunga’s Revenge > Zoot Allures > Zomby Woof > Uncle Remus > Let’s Move To Cleveland > Find Her Finer > Heavenly Bank Account > Andy > Inca Roads > Cosmik Debris
Set 2: Dirty Love > Doreen > What’s New In Baltimore > Peaches En Regalia > Montana > Village of the Sun > We Are Not Alone > Advance Romance > Sam with the Showing Scalp Flat Top > Black Page #2 > Hot Plate Crew Slut Heaven > City of Tiny Lites
Encore: The Meek Shall Inherit Nothing > Willie the Pimp
Papadosio just wrapped up a four day tour in the Northeast, stopping in Harrisburg, Philadelphia, New York City, and Bridgeport, CT. For the NYC show, they played at Sony Hall on Saturday, March 25 with 5 A.M Trio as the opener.
5 A.M Trio got the crowd dancing and grooving. The band consists of Sam Andrus, Aaron Harel, and Keith Wadsworth.
Papadosio opened up with “Cubensis.” They displayed their talents through intricate, danceable jams as they weave in and out of grooves. Their captivating visuals greatly accompany their unique sound and leave the audience in a trance like dance for most of the show.
Speaking with some of the members of the band, it seems like their sights are set on sustainability and maintaining healthy family lives.
Brooklyn was the last stop on the band’s debut North American tour before it was shuttered in early 2020, only performing twice. Since then, they have played all across Europe and the UK, finally making their way back overseas this month, hot off the release of their self-released (on Human Season Records) second album, Gigi’s Recovery, this past January.
Much like the album, the show brought a fully realized, introspective post-punk set with dynamic energy that elevated the record for the 650-capacity venue.
The show started with For Everything, the brooding opener off their debut album, When I Have Fears, which released in 2019.
They continued on at a monstrous pace, invoking a few raucous mosh pits, making it to a newer track, Return My Head and onto More Is Less.
There were moments of Radiohead imbued with Bauhaus, sharing a great polyphonic relationship between both guitars and bass, with the drums driving the rhythm amidst every harsh snare hit, most notably in the 2-part song, Slowdance I+II. Frontman James McGovern’s poetic lyricism gracefully complemented every movement, switching between thunderous bellows and spoken pieces.
The North American Gigi’s Recovery Tour continues through April, where the band will make a surely momentous visit to California’s Coachella Valley Music and Arts Festival, followed by a few other international festival appearances throughout the rest of the Summer.
The Murder Capital | Music Hall of Williamsburg | Brooklyn, NY | March 28, 2023
Setlist: For Everything, Return My Head, More Is Less, The Stars Will Leave Their Stage, Green & Blue, Crying, A Thousand Lives, Gigi’s Recovery, Slowdance I, Slowdance II, We Had to Disappear, Feeling Fades, Only Good Things, Don’t Cling to Life, Ethel
It was a birthday party like no other on Saturday, March 25th, as members of the Trey Anastasio Band and Joe Russo’s Almost Dead joined forces as LaMP to light up Lark Hall in Albany. The memorable evening of stellar improvisation and infectious grooves was extra special for the venue’s owner, Jennifer Miller. That’s because many of her nearest and dearest friends helped pack the place to capacity in celebration of her turning 50 years young.
FUNGKSHUI kicked off the party at Lark Hall on Saturday, March 25, 2023
Kicking off the festivities with a high energy, fun-fueled set was Asbury Park, NJ young bloods FUNGKSHUI. Pronounced “funk-shway,” the exciting upstarts made the most of the opportunity to share the stage with a few of their musical heroes. Comprised of Jack Reed (guitar), Max Vitale (guitar), Jon Scheps (bass), and Kyle Donovan (drums), the psychedelic funk quartet had Lark Hall moving and grooving from the beginning.
FUNGKSHUI performing at Lark Hall in Albany, NY 3/25/23
With two powerhouse guitar players and an incredibly tight rhythm section, the young band showcased a musical maturity well beyond their years. With irresistible hooks, dynamic soloing, and plenty of room left for improvisation, songs like “Orange Cadillac,” “Sinkhole” and “Blue Rat Bastard” highlighted the set. Clearly grateful to be there, afterwards the band members stuck around to chat with new fans and hand out free stickers, while also managing to create quite a buzz about their upcoming appearance at the nearby Rye Bread Music Festival later this summer. With their debut album also on the way, we expect to hear a lot more from this talented group in the very near future.
Ray Paczkowski, Scott Metzger & Russ Lawton performing together as LaMP at Lark Hall on 3/25/23
After a rain-soaked intermission dampened many a spliff, the party reignited inside with a special performance from the recently revived trio known as LaMP. Made up of Soule Monde/TAB members Russ Lawton on drums and organist Ray “The Milkman” Paczkowski, the time-tested duo was joined by Joe Russo’s Almost Dead/WOLF! guitarist Scott Metzger. The band gets takes its name from the first letters of each members’ surname. Originally debuting in 2018 at Nectar’s in Burlington, Vermont, LaMP released their debut album in the summer of 2020 and to date has only played a handful of gigs together, making each appearance a bit of a novelty and a “can’t miss” affair.
Opening their set with a funky rendition of the title track from 2021’s Mimi Digs It, Metzger immediately fits right in with the guys from Soule Monde. Tastefully adding guitar textures and subtle melodies to the otherwise drum and organ instrumentals, The Milkman, as always, pulled double duty by supplying the bass lines on the lower deck of his vintage Hammond organ. All warmed up and full of smiles, LaMP then cooked up something fresh for the curious cats who still weren’t sure what the band was all about. Pro-shot footage of “Out of Curiosity” has been posted on the band’s Facebook page at the link below, courtesy of our friends at Mirth Films.
Ray Paczkowski, Scott Metzger & Russ Lawton performing together as LaMP at Lark Hall on 3/25/23
The avant-groove compositions continued on with “Hit Return,” “Ollie ‘ 88” and “Hey Francis.” Each song undeniably groovy and each with a different feel, every member had ample opportunity to shine and empty their bag of musical tricks. Following “Seven Days” came one of the biggest highlights of the set in the form of “Q Division.” It was here where guitarist Scott Metzger really let things rip, playing off Paczkowski’s funky Clavinet lines and launching into one of the biggest shreds of the evening. Afterwards, an excited Paczkowski would get on the mic and tell everyone how much he loves playing improvisational music with these guys and that it was for moments just like that. Lightning in a bottle.
Scott Metzger performing with LaMP at Lark Hall on 3/25/23
LaMP would continue socking it to the Lark Hall faithful with “Sock Full,” then an extra greasy rendition of “Bernard,” which saw drummer Russ Lawton in complete command behind the kit. Showcasing a wealth of styles and versatility while diving in-and-out of groove pockets with a cool confidence, Lawton would use every inch of his instrument, at one point even banging on the side walls of his kit, cross-sticking it to great effect yielding a huge pop from the crowd.
LaMP’s Russ Lawton got sound from every inch of the drum kit on 3/25/23
The bumping progression of “Elsie’s River” came next, followed by “Allah Uya,” which had the entire room moving and grooving to the world-beat. “Clipse Dog” would then bring the main portion of the show to a close and leave the audience hollering for more. Happy to oblige, the LaMP trio returned to the stage with some very kind words about the venue, its staff, and to wish it’s owner a very happy 50th birthday. “Tinyland” was chosen as the night’s only encore.
LaMP packed the house at Lark Hall on 3/25/23
Truly masters of the craft, the years of experience and chemistry between these three talented musicians is something rarely seen in a live setting. Seamlessly blending together a myriad of styles and creating a sound that simply couldn’t be replicated by anyone else, it was another special night of music at Lark Hall and a birthday party The Millers will never forget. Not only does Brick Tamland love LaMP, it’s safe to say Albany does too.
Up next, the guys will head downstate for a performance at Brooklyn Bowl on March 30th before returning to Burlington for a pair of sold out shows at Nectar’s this weekend. With each member of the group balancing extremely busy touring schedules with their “other” bands, there’s no telling when fans will get another chance to see LaMP light it up again. If you have the opportunity, I would highly suggest going to see this incredible act while you still can. For those unable to make the trip, free livestreams of both Nectar’s gigs will be available via Volume.com.
LaMP | March 25, 2023 | Albany, NY | Lark Hall
Setlist: Mimi Digs It, Out of Curiosity, Hit Return, Ollie ’88, Hey Francis, Seven Days, Q Division, Sock Full, Bernard, Elsie’s River*, Alla Uya**, Clipse Dog Encore: Tinyland
*Abdullah Ibrahim cover **Ali Farka Toure cover
FUNGKSHUI:
LaMP (Russ Lawton, Scott Metzger and Ray Paczkowski):
